It's all about the classical music composers and their works from the last 400 years and much more about music. Hier erfahren Sie alles über die klassischen Komponisten und ihre Meisterwerke der letzten vierhundert Jahre und vieles mehr über Klassische Musik.
Andrew Lloyd Webber ‘will risk being arrested’ to fully reopen theatres on 21 June. Picture: PA
By Maddy Shaw Roberts, ClassicFM London
Composer pledges to fully reopen theaters on 21 June – even if it means getting arrested.
“We are going to open, come hell or high water,” Andrew Lloyd Webber told the Telegraph.
Lloyd Webber, one of the world’s most prolific and celebrated musical theaters composers, said his theaters were suffering “acute financial stress” that could only be lifted by theaters reopening without social distancing.
He said that if the government postpones lifting restrictions, “We will say: come to the theaters and arrest us.”
Cinderella, Lloyd Webber’s first West End show in five years, is slated to have its first preview in just over weeks, with opening night set for 14 July after almost a year’s delay.
Lloyd Webber would struggle to break even if he does not sell every seat during Cinderella’s run, due to the high production cost.
Read more: Andrew Lloyd Webber may ‘sue’ the government if theaters reopening is delayedowever, reports suggest the government may push back the lifting of restrictions on 21 June due to concerns over the impact of the Delta COVID-19 variant, which originated in India.
Lloyd Webber insists he has “seen the science from the tests”, and theatres are not a breeding ground for the virus. “They all prove that theaters are completely safe, the virus is not carried there.”
The theater impresario added: “If the government ignore their own science, we have the mother of all legal cases against them. “If Cinderella couldn’t open, we’d go, ‘Look, either we go to law about it, or you’ll have to compensate us.’”
Lloyd Webber revealed that it costs him £1 million a month just to keep his six theaters dark. He has remortgaged his London home, a townhouse in Belgravia, and warned that he may have to sell his six West End theaters if restrictions are not lifted as planned.
Cinderella's opening night is slated for 14 July. Picture: PA
“I don’t think [the government] understand it,” he told the Telegraph. “We’ve never taken any profit out of the theaters. I’ve always tried to put back in, which is why we’re in a muddle now because we never had a big reserve. “Unfortunately,” he says, “the Government regards theater as a nice thing to have rather than a necessity.”
Last week, Lloyd Webber told the Daily Mail he would “have to consider” taking legal action against the government if a reopening was delayed. On his lifelong love for the arts, Lloyd Webber added: “I don’t know when or where or how I began to love musicals, but I can’t remember a time when I didn’t.
“I think of music all the time. I must have 30 to 40 melodies in my head that haven’t found a home yet.”
13-year-old sings spine-tingling rendition of Bocelli’s ‘Time To Say Goodbye’. Picture: The Voice Kids
By Sian Moore, ClassicFM London
Solomia Lukyanets was just a teenager when she auditioned on The Voice Kids, Germany. Watch how she completely stole the show...
As the opening melody to Andrea Bocelli’s signature song ‘Time To Say Goodbye’ sounded, the judges of The Voice Kids in Germany knew they were about to hear something very special.
Standing on the stage behind them, unbeknown to the judges, was 13-year-old Ukrainian singer Solomia Lukyanets.
The gifted teenager had decided to perform the star tenor’s demanding Italian song for the first round of the singing competition in 2015.
As she softly sang the first verse, it quickly became apparent that Solomia’s vocal talents were way beyond her years. Watch below as the youngster reveals her surprisingly powerful and sonorous voice.
Within moments, judges Lena Meyer-Landrut and Johannes Strate have pressed their buttons. The young singer’s rendition is so beautiful that it even brings Lena to tears.
It takes the remaining judge, Mark Forster, a little longer to turn around. But as soon as Solomia begins the chorus, the rich timbre of her operatic voice rings through, and he can’t resist either.
The audience are on their feet before Solomia even finishes the song, some even crying from the performance. We love the gentle strength in Solomia’s lower range, the angelic beauty of her head voice, and the way she morphs into a full-on operatic diva for that great chorus melody. What incredible control and musicianship from such a young voice.
Unfortunately Solomia didn’t go on to win that season of The Voice Kids, and was eliminated during the battle rounds.
But the opera singer is now 20 years old, and continues to showcase her talented vocals in concert halls and on social media. You can follow her musical goings-on on Instagram here.
Franz Schubert is primarily known for his piano sonatas and chamber music, and deservedly so. Yet his most famous single work is a symphony. Well, a partial symphony anyway: his “Unfinished Symphony.”
Schubert isn’t the only composer to leave a symphony unfinished. Symphonies are complicated, long form pieces after all. A few other examples of unfinished symphonies include Beethoven’s Symphony No. 10, Bruckner’s Symphony No. 9 and Mahler’s Symphony No. 10. Even Schubert has others unfinished symphonies, Symphony No. 7 and Symphony No. 10.
Even so, when people talk about the “Unfinished Symphony” without further clarification, they only mean one symphony: Schubert’s Symphony No. 8 in B minor (D.759). Having this unofficial title for the work is helpful since it’s also sometimes listed as Schubert’s seventh symphony. Most refer to it as his eighth symphony to avoid confusion (ha!) with Schubert’s other unfinished Symphony No. 7. This other symphony was unfinished, but more complete than the Unfinished Symphony in that this other composition had parts of all four movements sketched out by Schubert. In contrast, the Unfinished Symphony has only two complete movements, a scherzo of a third comprised of only 30 bars of full orchestration and 112 bars in short score, and nothing of a fourth movement.
Composed in 1822 – premiered in 1865
Schubert composed what we have of the Unfinished Symphony in 1822, when he was just 25 years old. He was awarded an honorary diploma from the Graz Music Society in 1823. As a thank you, he dedicated the piece to the society and sent the two completed movements to Anselm Hüttenbrenner, Schubert’s good friend and member of the society. For some reason, Schubert’s good friend held on to the pages and never told anyone about them until 42 years later in 1865.
Hüttenbrenner gave the work to friend and conductor Johann von Herbeck. The first two movements, all that Schubert had given Hüttenbrenner, were premiered on December 7, 1865 in a concert given by the Society of Music Friends in Vienna. Herbeck decided to “finish” the work and followed the two movements with Schubert’s Symphony No. 3 in D major. While closing the work with the third symphony never took, the public immediately appreciated what existed of the Unfinished Symphony. The two movements were first published in 1867.
The scherzo was discovered among Schubert’s papers after his early death just five years after he shared the first two movements with Hüttenbrenner.
Theories behind the “unfinishing”
So this all begs the question: Why is the symphony unfinished?
The short answer is that no one knows, but of course there are many theories.
The infamously absent-minded composer was badly organized so he did finish it (mostly), he just never put the paperwork together. Under this theory, it’s believed that another work by Schubert was originally composed as the fourth movement. The work was used as incidental music he wrote for a play; an Entr’acte piece, also in B minor, that’s similar in style and instrumentation as the Unfinished. This theory is also passively supported by the fact there’s evidence that pages were ripped out of the manuscript Schubert gave Hüttenbrenner.
Schubert was preoccupied. In 1822, he was also composing what he considered his most complicated work to perform, the Fantasie in C major, Op. 15 (D.760), a four-movement solo piano composition also known as the Wanderer Fantasy. This was year he contracted syphilis, which would eventually kill him in 1828.
Musically, there was nowhere else to take the first two movements. The Unfinished Symphony is considered by many to be the first Romantic symphony because of its dramatic development and lyrical melodies. It’s unusual in that both movements are written in triple meter. The first movement is in ¾ time and the second movement is in 3/8 time. Even the scherzo of the third movement is written in ¾ time. This rare meter composition for a symphony coupled with what many feel is the scherzo’s poor quality, especially when compared with the sheer paired perfection of the first two movements, have led some to conclude Schubert simply had nothing more to add. He quit while he was ahead.
Another theory, related to Schubert’s absent-mindedness, is that he simply forgot about it. He sent what he’d completed of the composition to his friend and then moved on to another work. In his correspondence and writings, we see Schubert regularly discuss other symphonies he wrote, but never the Unfinished.
Making news in the 21st century
Since Schubert’s early death, there have been numerous attempts by composers to finish his Unfinished Symphony. On the 100th anniversary of his death in 1928, Columbia Records even held a worldwide contest for the best composition finishing it.
However, a recent discovery may change everything we know about this work. A six-page fragment of a musical score, written in Schubert’s hand, was found in 2017 in the attic of house undergoing renovations. The house, in Vienna, is near the Schubert Museum, which is housed in Schubert’s final home.
The fragment, which has been verified by Schubert scholars, fills out the third movement orchestration, ending it in D major, the relative major of the work’s home key of B minor.
We may find that the Unfinished is more accurately called the “Yet Undiscovered.”
His music has comforted people in times of pain and sadness. Even German President Frank-Walter Steinmeier says that without Mozart, we would all fundamentally be missing something.
Until very recently, the people of Würzburg had been worried whether their 100th anniversary Mozart Festival would even be able to take place in front of a real audience — due to the ongoing coronavirus pandemic.
"Giving up was out of the question for all of us. We had to fight for this season to happen," says the music festival's artistic director, Evelyn Meining. She says that the musicians were fed up with playing in front of cameras or against glass windows. "This music that comes from the heart and is intended to pull on your heartstrings can only be communicated as a live experience," she told DW.
Mozart's genius was already noticed at a young age, as he wrote his first symphony aged eight
The declining numbers of COVID infections have already allowed a limited number of listeners to attend the opening concert on site, including guest of honor, German President Frank-Walter Steinmeier. In his opening speech, Steinmeier emphasized that Mozart was not a composer who was only to be enjoyed during "good times."
"The same applies to (Mozart) as to art in general: we need him especially during difficult times."
How much Mozart does one need?
Steinmeier welcomed the fact that the Mozart Festival would not only feature the composer's music but would also encourage a discussion about the direction of Europe's overall cultural heritage. He was alluding to a planned series of discussions as part of the festival entitled "How much Mozart does one need?"
Mozart has long become synonymous with art and culture, said Evelyn Meining in response, highlighting that the real question therefore is how much education and how much culture people need — and how prepared we are as a society, especially during the COVID pandemic, to fight for the preservation of art and culture.
For the opening event, Evelyn Meining and conductor and composer Jörg Widmann put together a program featuring a broad range of Mozart works. The focus was Wolfgang Amadeus Mozart's last symphony, the Jupiter Symphony.
Widmann's own composition Con Brio was also played, which featured abrupt jumps between classical chords and surprising sounds. "You can hear Mozart even more intensely when you combine his work in a program featuring a contemporary piece," Widman said.
Jörg Widmann conducting the Camerata Salzburg orchestra
The Camerata Salzburg orchestra performed on a selection of period instruments and was accompanied by two famous violinists and arguably by even more famous instruments: Frenchman Renaud Capucon played on a violin made by Italian violin maker Pietro Antonio dalla Costa in 1764 — one of six instruments still preserved from Wolfgang Amadeus Mozart's private collection. An unspecified viola, played by the renowned violist Gerard Causse, also came from that collection.
Both instruments had been made available by the Mozarteum Foundation Salzburg for the anniversary concert: "We had received the instruments only a short time before the concert, and I didn't even know if I could play on it, but it still has an impeccable sound," Capucon told DW after the concert.
"The fact that Mozart himself held this violin in his hands is, of course, a very special honor in itself."
A UNESCO World Heritage site
The Würzburg Residence palace, where many of the major Mozart Festival concerts have been held for a century now, was built between 1720 and 1740. Its interiors were designed by the famous baroque and rococo architect Balthasar Neumann, who commissioned the famous Italian painter Giovanni Battista Tiepolo to create a sumptuous ceiling fresco in radiant colors, depicting the four continents that were known at the time.
In 1981, the building was added to the list of UNESCO's World Heritage sites as "the most unified and extraordinary of all Baroque palaces."
Mozart himself, however, never performed in these magnificent halls. Only once did he travel through the city by stagecoach. To his wife Constanze, he wrote at the time: "At Würzburg, we strengthened our stomachs with coffee — a beautiful splendid city."
But this fleeting visit alone was not the reason why Würzburg was established as a leading Mozart city.
The composer and conductor Hermann Zilcher conducted works by Mozart in the Kaisersaal and felt that the music complemented the interplay between architecture and painting.
"He said he felt as if he only had to trace the ornaments of Mozart's music as colors and shapes with his baton," says Evelyn Meining. In 1921, Zilcher went on to create Germany's oldest Mozart festival in Würzburg — at a time when the effects of World War I could still be felt universally.
The Mozartfest and Germany's contemporary history
And by the end of World War II, conductor and long-time artistic director of the festival, Eugen Jochum, found that Mozart and the Residence Würzburg had become inseparable. After a seven-year hiatus, he resumed the tradition of the Mozart Festival.
But in 1951, people were still affected by the horrors of World War II. Würzburg was almost completely bombed, and the Residence palace also lay in ruins. But people needed a sense of orientation and perspective for the future, says Meining. "Music made them forget and helped them be cheerful. There are pictures that show how people would dance and play music in front of the burned-out Residence back then."
Mozart in times of a pandemic
Wolfgang Amadeus Mozart suffered many defeats in his lifetime. He was celebrated as a child prodigy, and was constantly on the move through the various courts of kings and queens. He was both envied for his talent and antagonized. He died at the age of just 35, seriously ill and poor.
"Mozart's music contains all that the human soul can experience in terms of downfalls, in terms of sadness, in terms of shadows, but also in terms of radiant light," says Meining. Even now, during the COVID-19 pandemic, Mozart can give people comfort, she adds. "In the Sinfonia Concertante in the opening concert, there's a great darkness in the second movement and then the tears are wiped away, joy returns, and at the end, you can see the light again, and your faith in the good is restored once more."
The Mozart Festival will continue to present world-class concerts and musical and artistic projects through June 27. The festival is also accompanied by the exhibition "Imagine Mozart."
When a pyjama-clad toddler delivered a mind-blowing masterclass in conducting Beethoven.
Here’s the moment a toddler was simply overcome with joy, as he conducted along to Beethoven’s Fifth Symphony with stunning precision.
At the tender age of three, Jonathan Okseniuk was caught on camera by his mum, fiercely waving his baton around to the music in the family living room.
The young American maestro puts on a sensational show of conducting along to the iconic recording by Herbert von Karajan and the Berlin Philharmonic – who just happen to be Jonathan’s favourite conductor and orchestra.
It’s hard to believe a three-year-old has the focus to deliver such clear signals and fluid gestures to an (albeit imaginary) orchestra.
As he breathlessly declares the finale of the fourth movement to be his “favourite part!”, Jonathan descends into a stream of joyous shrieks and giggles, to the delight of his mum.
It should come as no great surprise that Jonathan, now 14 years old, is a brilliant violinist who has won junior music competitions across the US.
A year after this video was filmed, the young Beethoven enthusiast conducted Arizona’s Chandler Symphony Orchestra in concert.
12 months later, he conducted a movement from Mozart’s Eine Kleine Nachtmusik on a TV talk show.
And here’s the moment Jonathan, aged nine, conducted a wonderful string arrangement of the second movement of Beethoven’s ‘Pathétique’ Sonata:
In more recent times, Jonathan took home first prize at the Grand Junction Symphony Orchestra’s 2021 Young Artist Competition in Colorado, US in April 2021.
To this day, many will remember him as the mini maestro who assuaged all our anxieties about the future of classical music.
We wish Jonathan the best of luck with his career. May he continue to delight us with his baton-waving for years to come...
If you start typing “Beethoven” into YouTube’s search bar, “Beethoven 5th symphony” is the first auto fill option. Probably the world’s most popular symphony, everyone has heard it even if they couldn’t name it. Its iconic four-note opening motif is instantly recognizable.
But as always – there’s more to the story of Beethoven’s famous Symphony in C Minor, No. 5.
About the composition
Despite the work’s formal title, its famous opening doesn’t reach a true C minor until the third repetition of the four notes. While the symphony does quickly get to C minor, it concludes in a hearty C-major coda. You can hear a lighter, more festive version of the opening of the first movement played in C-major here.
Beethoven was already growing deaf when he started his fifth symphony in 1804. He began working on it short after finishing his third symphony. Even so, he was working on so many other works at the time, it took him four years to complete it. It wasn’t just the other projects; he was also a notorious editor of his work. The fifth symphony is one the apex symphonies of his Heroic Period (1803 – 1815), during which he composed this third through eighth symphonies, and broke from classical structures and introduced the Romantic era.
Yet the symphony does follow the classical symphonic structure of four movements. The first movement is defined by the opening four notes. Beethoven’s secretary wrote, after the composer’s death, that Beethoven had described this motif and the foundational idea of the entire work as “fate knocking at the door!” This story held for so long, the opening is also called the “Fate motif.”
Alas, his secretary has been found to be an unreliable memoirist who looked back at Beethoven through perhaps too rosy a pair of glasses. Some have suggested Beethoven’s inspiration for this opening motif is the sound of the Yellowhammer birds that lived in the parks in Vienna. Others still say the opening fits the more martial temperament of his Heroic Period that reflects the revolutionary state of Europe at the time.
The fourth movement provides some support to this last idea. It’s an explosion of sound that quotes from a composition by French Revolutionary War army officer, Claude Joseph Rouget de Lisle, who also wrote the music and lyrics to what would become France’s national anthem, La Marseillaise.
About its performances
Symphony No. 5 in C minor debuted in Vienna on December 22, 1808 at the Theater an der Wien. This concert was Beethoven’s famous marathon concert, running four hours long under horrible conditions. The program was all Beethoven, and the badly rehearsed orchestra was conducted by Beethoven. The Sixth Symphony also made its debut at this concert and was in fact played before the Fifth as the numbers of each symphony were reversed in the program.
The entire concert, including these premieres, was considered a failure due to a combination of not very talented musicians performing in a cold hall in December. One attendee who wanted to leave mid-performance, explained why the audience remained for the entire four hours, “Beethoven was in the middle of conducting and was close at hand.”
Despite its inauspicious beginnings, it quickly gained popular and critical acclaim. It was performed at the inaugural concerts for the New York Philharmonic (December 7, 1842) and the National Symphony Orchestra (November 2, 1931), as well as during the inaugural week of Carnegie Hall (May 9, 1891). It remains a favorite choice for inaugurating new orchestras or music halls.
The romantic symphony also made disco history with A Fifth of Beethoven, which was a number 1 hit from the famous disco-era film Saturday Night Fever. You can also find rock, salsa and a mashup with Mambo No. 5 versions.
The 5th through history
Critic E.T.A. Hoffmann is credited with establishing the symphony’s reputation. He published a detailed and highly complementary critique of the work in 1813, which he called the symphony a “rhapsody of genius” and “a work that is splendid beyond all measure.” Hector Berlioz likened the third movement to “the gaze of a mesmerizer.” Sir John Eliot Gardiner described the four-note Fate motif as “an alarm call, an incitement, a call to arms,” as it was composed in the context of revolution sweeping Europe. Donald Francis Tovey called it "among the least misunderstood of musical classics."
The opening four notes were a crucial and (shall we say) instrumental part of Europeans’ passive resistance to Nazi tyranny during World War II. The “V for Victory” campaign began in Belgium as a call for people to write the letter “V” as a sign of resistance. Winston Churchill promoted the campaign and integrated making the fingers raised in a V-sign. The next day, BBC radio encouraged listeners in Paris to stage a "quiet knocking" demonstration, using The Fifth Symphony’s four notes, as the roman numeral for the five is “V.”
Soon, the BBC, which broadcast into Nazi-occupied countries, began using the four notes as its station identification call sign. BBC radio programs also instructed people throughout Europe how they could play the same four notes themselves, teachers on blackboard, trains tooting it out through their steam engines, and children clapping their hands. For this reason, the symphony has also been known as the Victory Symphony since World War II.
Lastly, the work was included on the Golden Disc launched into space in 1977 on the Voyager spacecraft. The disc on the spacecraft, perpetually spinning through space, is filled with audio and image files intended to display the creativity and diversity of life on Earth to any extra-terrestrial that might come across it. Here is the first movement recording on the Golden Disc.
Officially, the “New World Symphony” is Antonin Dvořák’s Symphony No. 9 in E minor, Op. 95, B. 178, and subtitled “From the New World.” Of course, everyone simply calls it the “New World Symphony.” Dvořák composed the symphony over the first half of 1893, and it was premiered by the New York Philharmonic on December 13, 1893, at Carnegie Hall.
It was a hotly anticipated work. So much so that Carnegie Hall was forced to install a significant amount of extra seating to meet the demand for the premiere. Why so much anticipation?
At that time, Dvořák was living and working in New York City as the musical director of the National Conservatory of Music of America. The conservatory opened in 1888 with the twin aims of making music education available to talented students from every background, including marginalized communities, and to foster the creation of a particularly American national music.
Dvořák came on as musical director in 1892. As such, his work on The New World Symphony was an explicitly intentional attempt to bring an American musical sensibility to European classical music. He'd made public comments months earlier that he felt the core of an American sound could be found in Native American communities and African-American spirituals, and it was these sensibilities he'd bring to his new composition.
His comments on his influences for the symphony caused a stir, and discussions by writers and critics about what could be expected continued until the day before the premiere. In an interview with Dvořák, published by The New York Daily Herald, he reiterated that he was influenced and inspired by Native American music and black spirituals when he composed the symphony to be performed the next night.
Folk Music at the Core of a Classical Composition
Before he ever arrived in the United States, Dvořák was already well-known, particularly for his compositions incorporating Czech folk music from his native Bohemia. From a humble background, he keenly felt the struggle to maintain a cultural and political independence of his homeland from the weight of the Austro-Hungarian Empire. As such, he came to America with the approach of drawing on well-formed local folk music.
He began composing the New World Symphony in New York City but completed it during a summer excursion to Iowa, where there was a large Czech community. Thus, he got to experience a range of American vistas as he wrote, often inspired by America's wide-open spaces.
Dvořák also studied music that originated in the African-American community. He heard a student singing spirituals at the Conservatory and asked him to sing some more. Quickly, Dvořák and his student Henry Burleigh (soon to be a composer himself) were meeting regularly, with Burleigh teaching Dvořák all he had learned growing-up hearing his mother, a freed slave, sing. In his personal notes, Burleigh wrote that Dvořák had described the spiritual “Go Down Moses” as great as any theme composed by Beethoven.
The New World Symphony is noted for using elements characteristic of slave spirituals, including syncopated rhythms, pentatonic scales, and flatted seventh. It’s been debated whether Dvořák derived from specific songs in the New World Symphony. For his part, Dvořák said he was inspired by the music without directly using specific melodies. Yet many, including Burleigh, couldn’t help but hear echoes of “Swing Low, Sweet Chariot” in the second theme of the first movement.
n a more abstract level, Dvořák was also inspired by Longfellow’s poem “Song of Hiawatha.” According to Dvořák’s sketch notes and public comments, the symphony’s second movement, the Largo, was inspired by Hiawatha’s journey across the American plains with his wife, Minnehaha. The third movement, a Scherzo, was animated by the feasting and energetic dancing of the magician Pau-Puk-Keewis during the wedding scene of the epic. Indeed, he had thought to use these movements as the basis for a full-scale vocal work of Longfellow’s poem.
Impact of The New World Symphony
The work was a huge success. At the premiere, the audience applauded so loudly between each movement that Dvořák stood to bow before the orchestra could continue. It had its first European premiere less than a year later, performed by the London Philharmonic Society on June 21, 1894. It was premiered in Prague and other Czech cities later in 1894. From there, it’s remained a favorite all over the world.
The New York Philharmonic celebrated the symphony’s 175th anniversary with the performance linked in the opening paragraph, and by starting the New World Initiative, a competition for artists to create new works inspired by the New World Symphony. You can find the winners and performances here.
The work has been so closely associated with African-American spirituals, that many believed that Dvořák used the popular folk song “Goin’ Home” in the Largo. In fact, it was the symphony’s Largo movement that inspired “Goin’ Home,” which wasn’t written until 1922. You can listen to the legendary Paul Robeson sing it here.
Interestingly, Neil Armstrong brought a recording of the symphony with him during the Apollo 11 mission to the Moon.
The Melting Pot Symphony
While inspired by local musical and folk traditions, Dvořák remained firmly in the European classical tradition for its structure. The symphony is made up of four movements and built on a framework of developing and repeating themes.
Leonard Bernstein, in a lecture deconstructing the work, identified themes with Czech, French, German, Scottish and Chinese origins. Indeed, music critic James Huneker, in his review of the symphony’s premiere, described it as “distinctly American,” exactly because it was made up of so many elements representing the diverse American culture.
Published by StringOvation Team on October 11, 2017
Photo of Antonin Dvorak courtesy of the Gallica Digital Library
Classical artists share truths about arts reopening
Pianist Anna Tsybuleva; guitarist Miloš; organist Anna Lapwood. Picture: Instagram/Richard Johnson/Nick Rutter
By Maddy Shaw Roberts, ClassicFM London
The arts and live music are gradually being restored. But the long-term impact on musicians has been disastrous and many are leaving the profession entirely, say the classical industry’s leading figures.
“A friend of mine recently started working on an opera production for the first time in 15 months and noticed that two of the cast with whom he was chatting during a coffee-break had cuts and bruises on their arms; it turned out that one had been working as a bricklayer and one as a gardener,” conductor Ian Page tells Classic FM.
Since the pandemic began, musicians have been surviving by taking on any work they can get. Now that live music is finally reawakening, is a swift return to business-as-usual on the cards for the country’s classical artists?
Not so much, say guitarist Miloš, organist Anna Lapwood, mezzo-soprano Jennifer Johnston, conductor Ian Page, clarinetist Julian Bliss, pianist Anna Tsybuleva, conductor and saxophonist Christian Forshaw, and classical music small business owner Katie Beardsworth.
We spoke to these leading classical figures about the truth behind live performance’s big ‘bounce-back’, and how the realities of Brexit are affecting the revival of UK arts.
Milos, guitarist – playing at Royal Albert Hall on 17 July
On the arts reopening: “Nothing can replace that magical feeling of hearing music happening in front of you, experiencing the electricity in the room and breathing together with your favourite artist. It might take some time before everyone feels comfortable enough to enter a concert hall or a theatre… but now more than ever we need those bums on the seats and all the support and love we can get.”
On Brexit: “The full extent of Brexit has not yet been fully felt, I’m afraid. This is a scary time for all... but when you add Brexit to the mix it becomes a very big concern for musicians. Simply put, there is absolutely no clarity nor plan. British-based artists are in a very difficult place right now. I don’t always understand the point of it all... it’s hard not to feel betrayed.”
Miloš is a classical Montenegrin guitarist based in London. Picture: Esther Haase
Ian Page, conductor – performing with The Mozartists at Cadogan Hall on 8 July
On the financial impact of COVID-19: “For individual artists, many are still having to survive by taking other work completely unrelated to their training and areas of expertise. A friend of mine recently started working on an opera production for the first time in 15 months and noticed that two of the cast with whom he was chatting during a coffee-break had cuts and bruises on their arms; it turned out that one had been working as a bricklayer and one as a gardener.”
On Brexit: “Brexit’s like an even bigger nail in the coffin during these unprecedentedly difficult times. Not only have we been set back by the pandemic, but now we face extra costs and bureaucracy to perform in Europe or to engage European artists. This will make international collaboration much harder and have a significant and detrimental financial impact on our industry. Even in the 18th century, Mozart’s education was predicated on the fact that he had freedom of movement to spend 15 months in London as well as time in France, Holland, Italy and several other countries.”
Anna Lapwood, organist and conductor – performing at St-Martin-in-the-Fields on 21 June
On the arts reopening: “I think one of the biggest challenges as a performer is the uncertainty – gigs are returning, but in the back of your mind you’re trying to predict ‘is this really going to go ahead or not?’. I’ve had performances that have been postponed two or three times and it’s difficult from a psychological perspective. Musicians are such goal-oriented people, so when those goals are constantly shifting around it has a huge impact on the preparation process.”
On COVID-19 support for the arts: “Support isn’t just financial – the thing we’ve all been craving from DCMS is logistical support surrounding guidance, providing clarity and ensuring everyone has enough notice to implement changes. Just this week, new guidance was published the day after restrictions eased, stating that amateur choir rehearsals are limited to 6 singers. Not only was the tightening of restrictions a total shock, it was also announced so late in the day that many choir leaders found out whilst they were setting out the chairs for their rehearsals.
“There’s also the lack of parity between restrictions placed on musical events and those placed on things such as sports/pubs/restaurants. It is pretty hard to get your head around people being allowed to sing in a football stadium but a small group of singers not being allowed to sing in a well-ventilated church.”
Julian Bliss, clarinetist – playing at London’s Wigmore Hall on 25 May
On the financial impact of COVID-19: “Other sources of income are always good, if they complement the core of what you do. But a number of musicians I know ended up getting jobs in completely different fields just to make ends meet, which is sad and very unsettling. I think we have all realised that relying solely on one stream of income can be risky.”
Anna Tsybuleva, pianist – performing at Shanghai Oriental Arts Center, China on 9 July
On the arts reopening: “I know of many incredibly talented musicians who have abandoned the profession entirely in favour of a more stable line of work, which is such a terrible and long-lasting consequence of these times. I have been fortunate in a sense, because this artificial pause on ‘normal life’ has enabled me to spend time with my young daughter, which has been a true blessing. But it is my hope, of course, that all musicians can be back making music for live audiences again as soon as possible – it is our food, our oxygen, and our true privilege to connect and communicate in this special way.”
Christian Forshaw, composer and saxophonist – new album ‘Historical Fiction’ released on 17 September
On the financial impact of COVID-19: “Sadly I and many of my colleagues fell through the cracks and didn’t receive any government support during the whole pandemic. I was fortunate to be able to continue my work as Professor of Saxophone at the Guildhall School, but lost all of my other income.
On Brexit: “Brexit has added an infuriating layer of difficulty when planning tours and performances abroad. That kind of work would have been a lifeline as we come out of lockdown, but sadly we are faced with yet another barrier in re-establishing our performing careers.”
Jennifer Johnston, operatic mezzo-soprano – currently in teaching jobs
On COVID-19’s impact on freelancers: “Freelancers who have no job security at the best of times, despite being part of a world-leading powerhouse cultural sector, are turning to other sorts of work to make ends meet, whether driving a delivery van, teaching, working on farms, or in nursing homes on minimum wage.”
On Brexit: “The cultural sector is now decimated, and there is a further hidden enemy, whose impact has been masked by the onset of the pandemic: Brexit. For our touring musicians, Brexit serves as a death-knell to the days of freedom to tour the EU endlessly. British musicians are hit from both sides: almost no work at home because of the pandemic, no work abroad because of Brexit. A ‘bounce-back’ may happen, but it may be too late for many smaller arts organisations whose margins are tiny and for freelancers who have sought more secure employment elsewhere.”
150 opera singers fight for the arts in Parliament protest
Singers perform Verdi in a campaign for support during the COVID-19 pandemic, at London's Parliament Square.
Katie Beardsworth runs Polyphony Arts, an independent classical artist management business
On COVID-19’s impact on artists: “We receive emails every day from promoters who really want to book our artists but are struggling to make commitments given all the uncertainty they are facing. I particularly feel that what is often not highlighted in all this is that most artists do not feel that their careers are at a stable and steady point. Progression is a huge aim for most musicians.
On diversity and creativity in the industry: “On the flip side of this, there is a positive side to this industry disruption. The artistic community’s response to the pandemic has been monumental. Artists have produced online work, worked on their profiles, and sought their own support like never before.
“The classical music industry needed to take a step back from the culture of unspoken hierarchy which exists and hampers the progress of artists that are minorities and/or from less advantaged backgrounds. There has been a big ‘levelling’ in all this, and I think artists that were previously struggling to find their path to success have a real opportunity here, to take their own space and find their own voice.”
Ivan Fischer improves 'Happy Birthday'. Picture: Medici TV/Verbier Festival
By Maddy Shaw Roberts, ClassicFM London
Iván Fischer masterfully rewrites the world’s most famous ditty. Behold, the new-and-improved ‘Happy Birthday’…
Whether your concert stage is an open-plan office space, a packed-out pub or even the now-dreaded mass Zoom call, likelihood is you’re more than familiar with the song ‘Happy Birthday’.
But did you ever think it could be improved like this?
Hungarian composer and conductor Iván Fischer decided he had truly had enough of what is, in his words, “a very poor melody”.
‘Happy Birthday’ is, according to Fischer, ripe for a rewrite. Sitting at a piano during the Verbier Festival, the founder and music director of the Budapest Festival Orchestra worked out an ‘improved’ version of the well-known tune.
“I want to do something about this melody, Happy Birthday,” the great maestro says. “Everybody sings it all over the world, it’s maybe the most well-known melody.”
But, Fischer argues, the melodic accents are all in the wrong place. Rather than the emphasis being on ‘you’, the recipient of the birthday wishes, the way the song is written means the accent lands on ‘to’.
The maestro’s next bit of beef is that the third line goes too high.
“Why does it go up?” Fischer asks. “Nobody can even sing it, it’s always out of tune. There’s no reason to go up.”
And so, he shows us how it’s really done (watch above).
“It would be so much more singable,” Fischer proclaims of his new version. “And the melody is better, it makes better turns. Everything would be better. So, I hope we can change it all over the world, and then people will sing it differently.”
If anyone fancies starting a petition, you’ve got our vote
